Re-Kindling Interest: Different Strokes: How I (Gulp!) Wrote, Directed, and Starred in an X-Rated Movie by Lawrence Block writing as John Warren Wells

This is one of a series of reviews focusing on out-of-print works that have become available again via a variety of e-book formats.

In 1973, at the height of the mainstream pornography heyday, with films even now considered classics of the style (Deep Throat, The Devil in Miss Jones) playing alongside other Hollywood fare, author Lawrence Block was hired to write a similar film that would have "a real script and a good cast and wide distribution." (Something author Terry Southern predicted in his novel Blue Movie.) The film was to be titled Different Strokes, but things didn't quite work out and it was never made.

But, as part of the deal, Block had arranged with his publisher to document the production in a book that would also include the screenplay and interviews — "for some subsidiary income [since] I wasn't going to be getting much actual cash for [the script]" — and publish it under Block's sexual-behaviors pseudonym, John Warren Wells.

Neither saw a reason why they couldn't go ahead with that part.

The result, Different Strokes: How I (Gulp!) Wrote, Directed, and Starred in an X-Rated Movie, is almost entirely fiction. (Some of it based on actual events that occurred before the production was cancelled.) But, according to Block's afterword in Different Strokes, "that was easy enough. It was fiction, and I'd been writing fiction for years. I liked fiction. You weren't tied down by facts."

And if there's something Lawrence Block is great at, it's fiction. I've been a fan of his for a couple of decades now, and Different Strokes has the same voice, humor, and skill at characterization and storytelling that have made him a best-seller since the 1980s.

His work from before that period is generally of the same quality; it has just been hard to acquire due to its often being hidden under a variety of pseudonyms. But now that Block has begun digitally releasing back-catalog works like Different Strokes: How I (Gulp!) Wrote, Directed, and Starred in an X-Rated Movie — and giving some away on Orange Wednesdays at his blog — it's going to be much easier to find a high-quality Lawrence Block book to read whenever I want one.

One Night Stands and Lost Weekends: Early Stories by Lawrence Block (short stories and novellas)

May you, Dear Reader, like the tomcat who had the affair with the skunk, enjoy these stories as much as you can stand.

—Lawrence Block, from the introduction

In 1999, publisher Crippen & Landru released limited hardcover editions of the early short fiction of author Lawrence Block.  The short-story volume was entitled One Night Stands, and the novella collection was called The Lost Cases of Ed London.

Now, these two volumes have been combined into a single trade paperback with the provocative title One Night Stands and Lost Weekends. The title describes the average time it took to write the short stories and novellas, respectively.

Block begins One Night Stands and Lost Weekends with a self-deprecatingly humorous introduction where he tells why he changed his mind regarding his original decision — set down in the introduction (also included) to the preceding limited collectors' edition — to only release the stories to a limited audience. Basically that, upon reading the stories, no one called "rip off," so why not make a little more money off them?

While these stories obviously aren't to the level of Block's later work (a point he emphasizes in both introductions, practically going so far as to warn the reader away from them), they will still appeal to the author's fans.  His voice is already clear, and the humor and imagination glosses over any imperfections in craft.

Con man Dick Barron runs across an amateur playing "The Badger Game" — badly — and decides to go along with it and turn the tables, though he's a little too arrogant for his own good. Before reading this story, I had not heard of this con, and now references to it seem to keep popping up. Apparently it was a popular plot device during the period. The story is definitely of its time — the narrator speaks of "expensive" thirty-dollar shoes — but Block's skill at character makes this one of special appeal to fans of confidence tales like his The Girl with the Long Green Heart.

"The Bad Night" is a simple and unsurprising standoff between two young killers and their much older potential victim. The use of setting and dialogue goes a long way toward saving this one. "Bargain in Blood," originally published under the "Sheldon Lord" byline, has a simple message: the next time your other half wants you to prove your love, just hope she's not Rita. Block manages to put off the surprise nearly to the end here.

"Bride of Violence" is a very well executed piece of pure crime fiction with a twist that, if hard to condone, is completely the result of the actions of the story. "The Burning Fury" is another one of those stories of people who can't leave well enough alone.  Block's characterization is stunning, giving all the right information and still holding back a surprise.

Characterization is everything in "The Dope," since there's very little in the way of plot.  "A Fire in the Night" is an internal monologue of sorts with a twist that negates several factual statements from the story.  "Frozen Stiff" owes a debt to Roald Dahl, as the irony flows. (A nod to the master is given in the form of a leg of lamb.)  Another Sheldon Lord, "Just Window Shopping," shows remarkable insight into the mind of a voyeur who gets a surprise opportunity.

A quote usually misattributed to Confucius says that if rape is inevitable, just "Lie Back and Enjoy It." But then the tables are turned a little too cutely in this tale from 1958. (Read it online.)  "Look Death in the Eye" is reminiscent of Robert Bloch with its darkly funny and humorously gruesome Tales from the Crypt–style ending.  In "Man of Passion," a photographer on the run picks the wrong town to hide out in.

"Nor Iron Bars a Cage" is one of those tales where you just know there's going to be a twist that the whole story was conceived around, but still Block manages to surprise with his only attempt at science fiction. "Package Deal" concerns town tamer Lou Baron, Joe Milani, Albert Hallander, Mike Ross, Arlington Ohio, and a hit man with his own agenda.

A particular highlight is "Pseudo Identity." It is the tragic tale of a double life that goes awry when the two overlap in an unexpected way.  Block pulls us along a surprising route that ends in a karmic twist.  This is one of his best all around.

"Ride the White Horse" is a very dark tale of how one man's life changes for the better — and then for the worse — when his routine is disrupted. A little naive in its drug knowledge but very astute in drawing the primary relationship.  The overblown ending is the only real detriment.

Even after having so many twists and turns thrown at me, Block still managed to get another one right past me in "The Way to Power," a tale of a mob gunman who finally begins to think for himself.  Lenny Blake (not his real name), the protagonist of "You Can't Lose," offers advice for smart guys who don't like to work but like to stay flush with cash--as long as they're not into luxury.

The "Lost Weekends" portion contains three novellas featuring Block's first series P.I., Ed London.  The introduction to this volume is similar to the other.  In "The Naked and the Deadly," London meets his client's blackmailer, and on the way to do business the extortionist is mowed down by a Tommy gun.

Ed then fills us in on the backstory: he was hired by a secretive woman, a lawyer is looking for the woman, a cop is looking for the lawyer, and things go from there.  The novella gives London (and Block) the chance to ramble on a bit and impress us with his esoteric knowledge.

In "Stag Party Girl," the title character jumps out of a cake at a bachelor dinner and gets shot for her trouble. She'd been intimate with most of the attendees and was potentially blackmailing one or more.  This is an improvement on "The Naked and the Deadly," with London seeming to take his job more seriously.

Finally, in "Twin Call Girls," Ed gets an urgent call from a frightened woman.  But when he gets to the meeting he finds her dead.  When the girl subsequently turns up alive at his office, it's not hard to figure out what's going on.  (The title gives it away.) This is the darkest of the three, with Block delving into some of the seediest aspects of humanity, but always with enough heart to make it palatable.

Reading these solid detective novelettes, it's easy to see how Block would progress to his later detective series.  And readers hungry for more Ed London can find him in Coward's Kiss.

Readers seeking classic Block should keep searching. But I heartily recommend that readers of Block's Hard Case Crime reprints get a copy of One Night Stands and Lost Weekends.

Re-Kindling Interest: A Girl Called Honey, So Willing, and Sin Hellcat by Lawrence Block and Donald E. Westlake (early pseudonymous novels originally by "Sheldon Lord and Alan Marshall" and "Andrew Shaw")

This is one of a series of reviews focusing on out-of-print novels that have become available again via a variety of e-book formats.

This review originally appeared in somewhat different form on The Green Man Review. Copyright 2010. Reprinted with permission.

Authors Lawrence Block and Donald E. Westlake met while both working for Harry Shorten at Midwood writing soft-core sex novels. Block was impressed by a line in one of Westlake's novels written as Alan Marshall, then Westlake overheard a conversation Block had with his agent. Later, they introduced themselves and were friends for fifty years, until Westlake's death at the end of 2008.

These three novels are the only ones Block and Westlake ever collaborated on, two under their respective pseudonyms for Midwood, Sheldon Lord and Alan Marshall, and one as Andrew Shaw. They discussed the prospect in later years of working together again (specifically a Bernie Rhodenbarr/John Dortmunder crossover), but alas, it never came to pass. Luckily, these books are now available for much cheaper than they could be found on the collectors' market.

A Girl Called Honey centers around the semi-innocent Honour Mercy Bane, whose parents kick her out on her sex-loving kiester, causing her to begin selling her ware in a brothel as "Honey." Richie Parsons is a petty thief in the Army who finds it difficult to keep his favorite hobby under wraps in a closely watched barracks.

Gone AWOL (he knows they can't get him for desertion if he keeps his uniform), he meets Honey and their relationship progresses from business to pleasure — until his fear of capture makes him more a liability than an asset, and another client tries to make his way into Honey's top spot. Then a single event has universally tragic consequences, with an ending easily as shocking as that of Block's later novel Mona (reprinted as Grifter's Game).

In So Willing, Vince is frustrated. He learned early on the skills to get a girl to go all the way, and he's decided to use them to bag his first virgin. But after numerous disappointing surprises, he discovers that you can't really tell a virgin from a more experienced girl. "Her own statements ... were worse than useless" and her actions, reputation, and appearance can also be misleading. So he decides to take a different approach and gets much more than he expected.

Sin Hellcat focuses on Harvey Christopher, husband to the frigid Helen and current paramour to Jodi, a working girl whom Harv went out with in college and who now makes a good living on her back. They "reminisce" for a while, getting reacquainted with each other's outer selves, until a business associate of Jodi's tries to blackmail Harvey, and Harvey responds in an unexpected way, inadvertently making him the ideal candidate for what comes next.

The three novels are all a lot of fun, especially when read with the knowledge that Block and Westlake alternated chapters. Block began A Girl Called Honey, Westlake began So Willing, and Block won't tell who wrote what in Sin Hellcat — since he was quite proud to discover that their styles mesh remarkably even now.

One gets the impression that the authors got a great deal of amusement from taking off on each other's plot twists and especially from getting rid of characters created by the other when they began to annoy. The books are full of little in-references (one character signs a hotel register as "Andrew Shaw") and throwaway jokes (like calling a town Modnoc; read it backwards) that only add to the entertainment. All in all, Block and Westlake have nothing to be ashamed of with these early novels, and their fans will be glad to see them back in print, if only so that they can generate royalty checks once again.

A Diet of Treacle by Lawrence Block (Hard Case Crime)

Since September 2009 marks the fifth anniversary of Hard Case Crime, I will be reprinting my reviews of the first 40 books from my old (and now mostly defunct) Craig's Book Club site — 2 for the first 10 days, and 1 a day for the next 20. I hope you enjoy this refresher course in the variety of crime fiction that this fascinating publisher has to offer.

"Once upon a time there were three little sisters," the Dormouse began in a great hurry; "and their names were Elsie, Lacie, and Tillie; and they lived at the bottom of a well—"

"What did they live on?" said Alice, who always took a great interest in questions of eating and drinking.

"They lived on treacle," said the Dormouse, after thinking a minute or two.

"They couldn't have done that, you know," Alice gently remarked; "they'd have been ill."

"So they were," said the Dormouse; "very ill." — from Through the Looking Glass

The appearance of another "new" Lawrence Block title under the Hard Case Crime banner has become an annual occurrence I invariable look forward to. It can't last forever, presumably, but reading stories like Lucky at Cards, The Girl with the Long Green Heart, and Grifter's Game gives one an inexpensive education in the life of the con artist.

A Diet of Treacle (originally published as Pads Are for Passion under the house name Sheldon Lord) is a little different — it's a more traditional type of noir involving a trio of under-30s in 1960s Greenwich Village. Joe Milani is a vet of Korea who revels in the coolness he gets from a good marijuana high. Leon "Shank" Marsten, Joe's roommate, is just looking for his next deal or his next lay. Both of them surround themselves with Hip.

Anita Carbone, however, is very Square — a good little Italian girl whom Joe meets one night at The Palermo and can't get out of his mind afterward — she has the life he wishes he could return to after his having turned on and dropped out. But Anita wants what Joe has — unpredictability, what she sees as excitement.

A Diet of Treacle is much more a character piece than Block's other Hard Case Crime titles. It is also the first of his "sleaze" titles I've read that actually features a fair amount of sex talk — though a good portion of that concerns so-called "promiscuous virgins" (girls experienced in sex every way but the main route).

Block's style really captures the voice and spirit of the darker side of Beat and Hip, but in a way that makes me unsure if his research came from life or from other books. Luckily, while the main focus is on these three characters and their individual sex and drug experiences, there is a certain level of tension over the proceedings: we know something is going to happen, just not what.

In fact, when all hell finally breaks loose, it is a bit of a relief. Having really enjoyed Grifter's Game, The Girl with the Long Green Heart, and Lucky at Cards, this one comes across as comparatively weak, but A Diet of Treacle is still vintage Lawrence Block, and Block is always eminently readable.

Lucky at Cards by Lawrence Block (Hard Case Crime)

Since September 2009 marks the fifth anniversary of Hard Case Crime, I will be reprinting my reviews of the first 40 books from my old (and now mostly defunct) Craig's Book Club site — 2 for the first 10 days, and 1 a day for the next 20. I hope you enjoy this refresher course in the variety of crime fiction that this fascinating publisher has to offer.

"They say every man has a weakness. They say that for every man there's a woman somewhere in the world who can make him jump through fiery hoops just by snapping her fingers. They say a man's lucky if he never meets that woman." — from Lucky at Cards

If your publishing imprint's best-selling novels were by a particular author, you'd keep putting out novels by that author, wouldn't you? Well, that must be what's going on over at Hard Case Crime, because Lucky at Cards is the third "lost" Lawrence Block classic they've come out with. Lucky for us, it's another doozy, but what else could you possibly expect from the master of the crime novel?

Bill Maynard is an ex-magician who found his way into the card-sharp business. He upset the wrong people in his last town, so he's moved temporarily to New York, following an opportunity. But he's about to get very distracted by another, much more unexpected, opportunity — one "with hooker's hips and queen-sized breasts," and one that's easily as dangerous as getting aces and eights.

Lucky at Cards was originally released under the title The Sex Shuffle and the byline "Sheldon Lord," and it was published in 1964, the year before The Girl with the Long Green Heart, Block's previous Hard Case Crime outing. It shares a more optimistic tone with that novel that is a far cry from the much darker Grifter's Game (a.k.a. Mona) from just a couple of years before. This is apparently a huge coup for the Hard Case gang as Block has been notoriously shy when it comes to his early pseudonymous novels.

Its brisk pacing is a big attraction, but Lawrence Block's forte has always been his wonderfully complex plots, especially in these early novels. The likable, relatable characters like Matthew Scudder and Bernie Rhodenbarr came later — guys like Bill Maynard in Lucky at Cards are just slightly nonaverage Joes with very healthy imaginations.

Hell, they think like novelists, with their convoluted scenarios involving multiple character roles and layers of deception requiring huge amounts of footwork and no discernible sleep. No real person could pull all this off. And while this may be a drawback for some readers, I get a lot of fun out of watching these unrealistic, but still somehow highly plausible, situations play out. As long as Hard Case Crime keeps discovering these gems, I'll keep reading them.

The Girl with the Long Green Heart by Lawrence Block (Hard Case Crime)

Since September 2009 marks the fifth anniversary of Hard Case Crime, I will be reprinting my reviews of the first 40 books from my old (and now mostly defunct) Craig's Book Club site — 2 for the first 10 days, and 1 a day for the next 20. I hope you enjoy this refresher course in the variety of crime fiction that this fascinating publisher has to offer.

It was a crime novel from Lawrence Block that initiated the Hard Case Crime line (a new imprint from Dorchester Publications and Winterfall LLC that focuses on books written in the style of the old pulp crime novels) in 2004, and Grifter's Game was a nearly perfect choice. It set the tone for works to come while making a terrific impression on its own terms.

Now Ardai and company have returned with another fantastic Block reprint, again with a grifting theme. I love a good long-con tale, and The Girl with the Long Green Heart is one of the best. In terms of pure entertainment value (and educational value, if you're an aspiring criminal like me), it belongs side-by-side with The Sting.

The title character is Evvie Stone, secretary (among other things) to millionaire Wallace J. Gunderman. He promised to marry Evvie a long time ago, but never came through with the ring. However, that hasn't stopped him from getting his milk for free, so to speak, and Evvie is primed for revenge.

Enter Doug Rance and John Hayden, a couple of long-time con artists who work terrifically together due to their complementary styles. They've hatched an ingenious plan guaranteed to relieve Gunderman of a hundred thousand of his precious dollars, and Evvie couldn't be more eager to help them out from the inside. But is she too eager?

Block devises a con so well, it makes you wonder if he hasn't been involved in a little "research" himself (in addition to his lock-picking expertise as shown in his Bernie Rhodenbarr series). The author has a way with words unlike any other author. Written in the first person, The Girl with the Long Green Heart has a lot of internal monologue from John's point-of-view. Much of it has to do with the planning of the job, but a preponderence is simply one man's thoughts when thrust into a set of situations he did not plan on, and Block manages to somehow make it all utterly riveting.

In which case, The Girl with the Long Green Heart reads like lightning — I was finished before I realized I was over halfway through. And it's that kind of readability that brings me back to Block (and Hard Case Crime) time and time again, whatever the book. He's not always the most original plotter (his Rhodenbarrs owe a huge debt to Agatha Christie and his Chip Harrison "mysteries" are just softcore Nero Wolfe rip-offs), but his distinctive voice ensures familiarity and his pure skill at storytelling promises a fun read every time — the primary reason why he is one of my favorite authors.

Grifter's Game by Lawrence Block (originally published as Mona) (Hard Case Crime)

Since September 2009 marks the fifth anniversary of Hard Case Crime, I will be reprinting my reviews of the first 40 books from my old (and now mostly defunct) Craig's Book Club site — 2 for the first 10 days, and 1 a day for the next 20. I hope you enjoy this refresher course in the variety of crime fiction that this fascinating publisher has to offer.

Joe Marlin spends his days skipping out on hotel bills and double-crossing gold-diggers; not the best of lives, but it works for him. One day, after lifting some luggage to check in to his next hotel with (if you go without, they pay closer attention), he discovers a large cache of heroin. Later that night, he meets the married Mona Brassard, and they get to know each other better.

Now, it doesn't take a genius to figure out that the heroin and the heroine are somehow connected, but Block keeps the pace of Grifter's Game moving so fast that it doesn't matter. Joe is quickly in love — and in over his head — and this portrait of love between the hardest of hearts can only end in disaster. We just don't know what form it will take — other than that mentioned in the tagline, of course. (I love those floating eyes in the cover illustration by Chuck Pyle, by the way.)

Grifter's Game was an excellent choice to inaugurate the new Hard Case Crime line. Since it comes from very near that period, the details are fresh and natural: phone exchanges that begin with words, Joe's lunch in an Automat, even the mention that "the elevator was self-service" plants us right in the middle of the time — and this was at the beginning of Block's career. (Marlin's skill with locks predicts Block's later Burglar series, and his Matthew Scudder is an example of what happens when genre-dictated drinking gets out-of-hand.)

Lawrence Block is one of my favorite authors for that skill with detail. His insertion of humor in the story as a necessary means to break the tension is another reason (Marlin's response to a juicer pitchman is priceless). But, in the end, what I like best about the author is his creativity. A book like this could have ended in any of a dozen ways, all of them somewhat predictable, but Block comes up with one that absolutely knocks you to the floor, turning Grifter's Game from a really good story into a surprising and terrific one.

Hard Case Crime and "A Sound of Distant Drums"

I only recently discovered that there's a thread that ties together a number of the novels published by Hard Case Crime — and it's not just the distinctive cover design. Here's an explanation from HCC editor Charles Ardai from 2005:

"Back in the PBO era, a number of writers, including Donald Westlake and Lawrence Block, made an in-joke out of including references to A Sound of Distant Drums in their books.... So when the time came for [Max Phillips and I] to write our books for the line, we carried on the tradition."

Here are the occurrences I've found so far:

Lawrence Block: I found a good restaurant where they served me a blood-rare steak and very black coffee. I lingered awhile over a second cup of coffee, then went out and found a movie. [It] was lousy, a historical epic called A Sound of Distant Drums, a technicolor cinemascope package with pretty girls and flashing swords and people getting themselves killed flamboyantly. I dozed through most of it.
— from Grifter's Game (a.k.a. Mona), p. 39.

Donald E. Westlake: A little after midnight, we went down to 42nd Street and saw an important movie that had been made from a Broadway play called A Sound of Distant Drums. It was about homosexuality and what a burden it was, but the hero bore the burden girlfully. It didn't convert me.
— from 361, p. 95.

Lawrence Block: It was evening. Joe was lying on a bed, book in his hand, a western entitled A Sound of Distant Drums, by James Blue. Anita was sitting on the edge of the other bed and staring emptily across the room.
— from A Diet of Treacle (a.k.a. Pads Are for Passion), p. 179.

Donald E. Westlake: Cy Grildquist?... He's got a play on Broadway right now. A Sound of Distant Drums. A good money-maker.
— from The Cutie (a.k.a. The Mercenaries), pp. 147–148.

Max Phillips: "You're Billy Metz," I said.... "William R. Metz. Production design at Paramount. You were really up there for a while.... Catherine the Great's palace in Scarlet Monarch. That big, ah, that kind of desert fortress in A Sound of Distant Drums. Lemme think."
— from Fade to Blonde, p. 141.

Richard Aleas (Charles Ardai): A video store was promoting the latest Chow Yun-Fat import, a film whose two-character Chinese title was translated as A Sound of Distant Drums.
— from Little Girl Lost, p. 133.

Ardai explicitly states that there were other authors involved in this literary game, so any additions to this list will be greatly appreciated, whether HCC books or not. This is a fun little piece of trivia, and I'm interested in pursuing it with your help.

Killing Castro by Lawrence Block (Hard Case Crime)

There's been very little pattern in the schedule of recent publishing juggernaut Hard Case Crime. But for the third year in a row, each January has seen the reprinting of one of author Lawrence Block's "lost" novels originally published under pseudonyms. (I'm sure it doesn't hurt that Block's books — the line's inaugural release Grifter's Game, late 2005's The Girl with the Long Green Heart, and the new-year releases of 2007 and 2008, Lucky at Cards and A Diet of Treacle respectively — have been some of their best sellers.)

Ringing in 2009 is the (re)appearance of Killing Castro, which the Hard Case website touts as "the rarest of Block's books," almost 50 years after its first publication in 1961 (the year before the Cuban Missile Crisis, just to put things in a chronological perspective) as Fidel Castro Assassinated by "Lee Duncan," a pseudonym Block used only for this book.

(Just to illustrate the genuine rarity of this particular book, on the day I wrote this review, there were no copies available for sale on either Amazon, Alibris, or eBay, and the one used copy on Abebooks was $600!)

Killing Castro introduces us to five men — Turner, Garrison, Garth, Fenton, and Hines — all hired for their own reasons at $20,000 each to kill the Cuban dictator who himself attained power by overthrowing the previous despot. The first chapter introduces the men, the second begins a bio of their target. Quickly we know who we're dealing with, and this pattern continues throughout the rest of the book, with alternating chapters focusing on the present and the past. It's a nice sort of flashback motif, and it works toward making Fidel Castro a sympathetic character, at least until he becomes the thing he's fighting against.

Block makes the reader care about everyone, at least about whether they'll live or die, and he elicits just the right amount of empathy. Despite the title, it's easy to make the assumption that Castro does not die in Killing Castro simply because he's still alive at this writing. This assumption puts a fatalistic spin on the actions of Turner, Garrison, Garth, Fenton, and Hines — how many of them will die? which ones will it be? — that ratchets the suspense a even higher than Block's prose does on its own.

Killing Castro is easily the equal of Block's previous Hard Case Crime reprints. Just like those, I wanted to be reading it every free moment. And just like those, it is guaranteed to bring a terrific reading experience, not only to the author's devoted fans, but to anyone who appreciates well-written hardboiled crime fiction.

Hard Case Crime Quote of the Day (from Lucky at Cards by Lawrence Block)

"They say every man has a weakness. They say that for every man there's a woman somewhere in the world who can make him jump through fiery hoops just by snapping her fingers. They say a man's lucky if he never meets that woman."

— from Lucky at Cards by Lawrence Block
(reprinted by Hard Case Crime)